Please use this identifier to cite or link to this item: http://hdl.handle.net/1893/33654
Appears in Collections:Communications, Media and Culture Conference Papers and Proceedings
Peer Review Status: Refereed
Author(s): Clarke, Ashton
Zioga, Polina
Contact Email: polina.zioga@stir.ac.uk
Title: Scriptwriting for Interactive Crime Films: The Case of Scapegoat
Citation: Clarke A & Zioga P (2021) Scriptwriting for Interactive Crime Films: The Case of Scapegoat. Interactive Film and Media Conference 2021: New Narratives, Racialization, Global Crises, and Social Engagement, Online. Interactive Film and Media Journal, 2 (1). https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia
Date Deposited: 23-Nov-2021
Conference Name: Interactive Film and Media Conference 2021: New Narratives, Racialization, Global Crises, and Social Engagement
Conference Location: Online
Abstract: In recent years, the increasing number of interactive films being released, has highlighted the need for further development of methods and criteria that can guide the earlier stages of development, such as the scriptwriting process. Following the framework of interactive storytelling as a spectrum, it is acknowledged that writing a script for an interactive narrative that involves branching path options for navigating through the story, or multiple endings, is becoming more common and presents its own challenges. In this context, this paper examines established criteria used for assessing narrative quality and examines currently available software for interactive scriptwriting, identifying their affordances and limitations. Accordingly, we present Scapegoat, a short interactive crime drama, based on the model of British homicide investigations, and with the objective to investigate in practice the application of the criteria for narrative quality, together with the processes and elements of scriptwriting that can lead to a strong engaging story. We propose an approach that can efficiently incorporate crucial information of the interaction design, it can be effectively communicated to the crew and cast and used throughout the production lifecycle of the film. We highlight the crucial role of the on-set script supervisor for ensuring the interaction design is not compromised, and continuity is retained. We also discuss recommendations for further developments, including the importance of engaging the crew and cast early in the development process, together with future work into the requirements of interactive commissioners for television and film, and the need for standarisation in the industry.
Status: AM - Accepted Manuscript
Rights: This article will be published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). This license allows authors and readers to download and share content with others as long as they credit the authors, but they can’t change them in any way or use them commercially.
URL: https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia
Licence URL(s): http://creativecommons.org/licenses/by-nc-nd/4.0/

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